22 Mar 2009
WAGNER: Das Rheingold — Rome 1968
Vorabend (preliminary evening) of Der Ring des Nibelungen, in four scenes.
Die lustigen Weiber von Windsor (The Merry Wives of Windsor), a comical-fantastical opera in three acts with dance.
Guglielmo Tell: Melodramma tragico in four acts
Idomeneo, rè di Creta. Dramma per musica in tre atti (K. 366).
Music composed by Wolfgang Amadeus Mozart. Libretto by Giovanni Battista Varesco after Idomenée by Antoine Danchet.
Faust, Opéra en cinq actes
Music composed by Charles Gounod. Libretto by Jules Barbier and Michel Carré after Faust by Johann Wolfgang von Goethe
La damnation de Faust, Légende dramatique en quatre parties
Music composed by Hector Berlioz. Libretto by Hector Berlioz, Almire Gandonanière and Gérard de Nerval after Faust by Johann Wolfgang von Goethe
Mefistofele, Opera in un prologo, quattro atti e un epilogo
Music and libretto by Arrigo Boito (1842-1918), based on Faust: Eine Tragödie by Johann Wolfgang von Goethe
La Forza del Destino, a melodramma in quattro atti
Music composed by Giuseppe Verdi. Libretto by Francesco Maria Piave based on the drama Don Alvaro o La fuerza del sino by Angel Perez de Saavedra
Martha, an opera in four acts.
Music composed by Friedrich von Flotow. Libretto by Wilhelm Friedrich.
First performance: 25 November 1847 at Theater an der Wien, Vienna.
La serva padrona, intermezzo in two parts
Music composed by Giovanni Battista Pergolesi. Libretto by Gennar'antonio Frederico.
First performance: 28 August 1733, Teatro San Bartolomeo, Naples.
Fidelio, an opera in two acts
Here we offer three selections from Macbeth with Maria Callas performing the role of Lady Macbeth. These are from a live performance given on 7 December 1952 at La Scala. Victor de Sabata conducts the Orchestra del Teatro alla Scala, Milano.
VERDI: Macbeth, melodramma in quattro parti.
Music composed by Giuseppe Verdi. Libretto by Francesco Maria Piave, based on the play by William Shakespeare.
Music composed by Johann Strauss II.
Libretto by Richard Genée based on Henri Meilhac and Ludovic Halévy/Karl Haffner.
First performance: 5 April 1874 at the Theater an der Wien, Vienna.
Fedora, a melodrama in three acts.
Umberto Giordano, composer. Arturo Colautti, librettist, based on the play with the same name by Victorien Sardou
First performance: 17 November 1898 at Teatro Lirico Internazionale, Milan
Tosca, a melodrama in three acts
Giacomo Puccini, composer. Libretto by Luigi Illica and Giuseppe Giacosa, based on the play La Tosca by Victorien Sardou.
First performance: 14 January 1900 at Teatro Costanzi, Rome
A few years ago, I had the rare experience of attending a performance of Tosca in a small farm community where opera was a fairly new commodity. After the second act ended, with Scarpia's corpse lying center stage, I happened to overhear a young, wide-eyed woman say to her companion, "I knew she was upset, but I didn't think she'd KILL him!"
Mozart and Salieri, an opera in one act consisting of two scenes.
Nicolai Rimsky-Korsakov (1844-1908), composer. Libretto derived from Alexander Puskhin's play of the same name.
First performance: 7 December 1898 in Moscow.
Boris Godunov, an opera in four acts with prologue
Modest Mussorgsky, composer. Libretto by the composer, based on Alexander Pushkin's drama Boris Godunov and Nikolai Karamazin's History of the Russian Empire
First performance: 8 February 1874 at the Mariinsky Theatre, St. Petersburg
Eugene Onegin, lyrical scenes in three acts and seven tableaux.
Pyotr Il’yich Tchaikovsky, composer. Libretto by the composer, based on the verse novel by Aleksandr Sergeevich Pushkin.
First performance: 29 March 1879 at the Maliy Theatre, Moscow.
The Queen of Spades (Pique Dame), an opera in three acts.
Pyotr Il’yich Tchaikovsky, composer. Modest Tchaikovsky and composer, librettists.
First performance: 19 December 1890 at the Mariinsky Theatre, St. Petersburg.
Vorabend (preliminary evening) of Der Ring des Nibelungen, in four scenes.
Streaming Audio
Music and libretto by Richard Wagner (1813 - 1883)
First Performance: 22 September 1869, Königlich Hof- und Nationaltheater, München
| Principal Roles: | |
| Gods | |
| Wotan | Bass-Baritone |
| Donner | Bass-Baritone |
| Froh | Tenor |
| Loge | Tenor |
| Fricka | Mezzo-Soprano |
| Freia | Soprano |
| Erda | Contralto |
| Nieblungs | |
| Alberich | Bass-Baritone |
| Mime | Tenor |
| Giants | |
| Fasolt | Bass-Baritone |
| Fafner | Bass |
| Rhinemaidens | |
| Woglinde | Soprano |
| Wellgunde | Soprano |
| Flosshilde | Mezzo-Soprano |
Prelude and Scene I
The Setting: At the bottom of the Rhine.
Introductory Stage Instructions:
Greenish twilight, lighter above, darker below. The upper part of the scene is filled with moving water, which restlessly streams from right to left. Towards the bottom the waters resolve themselves into a fine mist, so that the space, to a man’s height from the stage, seems free from the water which floats like a train of clouds over the gloomy depths. Every-where are steep points of rock jutting up from the depths and enclosing the whole stage; all the ground is broken up into a wild confusion of jagged pieces, so that there is no level place, while on all sides darkness indicates other deeper fissures.
Synopsis:
Woglinde, Wellgunde and Flosshilde-the three seductive Rhinedaughters charged with protecting the Rhine gold-are swimming in the Rhine River. As they frolic in the water, Alberich the Nibelung, an ugly dwarf from the centre of the earth, approaches the water. He begins to flirt with the maidens, who tease and taunt him. Alberich becomes more and more frustrated as one by one the maidens reject him. A beam of light illuminates the Rhine gold, stopping Alberich's pursuit and drawing his full attention. Woglinde tells him that only a man who renounces love can steal the gold. The Rhinedaughters allow Alberich to get between them and the gold. He tricks the maidens, steals the gold and scurries away.
Scene II
The Setting: An open space on a mountain height
Introductory Stage Instructions:
The dawning day lights up with growing brightness a castle with glittering pinnacles, which stands on the top of a cliff in the background. Between this cliff and the foreground a deep valley through which the Rhine flows is supposed.
Wotan and Fricka asleep.
Synopsis:
Wotan, chief of the gods, lays sleeping, and his wife Fricka, goddess of marriage and fidelity, wakes him. A magnificent castle has appeared across the valley: Valhalla, the new home of the gods. Wotan has promised to give Fricka's sister Freia, goddess of youth and love, to the giants Fafner and Fasolt as reward for building the castle. Wotan tells his wife nevertheless not to worry; he would never harm the goddess who gives them all their youth and immortality through her golden apples. Freia appears, and in an attempt to escape the giants, calls for protection from her brothers, Donner, god of thunder, and Froh, god of the rainbow. Wotan tells Fricka and Freia that his ally Loge, demigod of fire, has a plan. Loge arrives, and tells the assembled crowd that although he has found no solution to their troubles, he does have news: Alberich has stolen the Rhine gold and will use it to forge a Ring that will give him absolute power over the entire world - including the gods. Wotan sees the gold as a way to pay the giants. Fasolt and Fafner agree to give Wotan until nightfall to bring them the Rhine gold, but until then, they will hold the terrified Freia hostage. The gods begin to feel weak as soon as Freia and her golden apples are taken away. Loge and Wotan depart, planning to surprise Alberich at his home in Nibelheim and take the gold from him.
Scene III
The Setting: Nibelheim.
Introductory Stage Instructions:
Alberich drags the shrieking Mime from a side cleft.
Synopsis:
Alberich has created a Ring from the Rhine gold and has used it to enslave the Nibelung - including his brother Mime - in his gold mine. Mime has crafted a golden cap for Alberich, a Tarnhelm, that can make him invisible and able to change shape at will. Alberich wrests the Tarnhelm from Mime and puts it on, becoming invisible. He taunts Mime, then leaves to lord his power over others. Wotan and Loge arrive, speaking with the cowed Mime. Alberich appears, brandishing the Ring, and taunts Wotan and Loge with threats of domination. Loge plays along with his taunts, tricking him into becoming first a dragon, then a toad. While Alberich is in toad form, Wotan and Loge trap him.
Scene IV
The Setting: Open space on mountain heights.
Introductory Stage Instructions:
The prospect is shrouded in pale mist, as at the end of the second scene.
Synopsis:
Bringing Alberich back to Valhalla, Wotan and Loge force him to hand over all the treasures, including Tarnhelm and the Ring, as ransom for his release. When Wotan takes the Ring from Alberich's hand and places it on his own, Alberich curses the wearer of the Ring to death, and others to envy. As Alberich leaves, Fasolt and Fafner return, bearing Freia. As Donner, Froh and Fricka gather, Fasolt tells Wotan that the reward for returning Freia must be large enough to hide her from his view. Wotan agrees, and the gold, including the Tarnhelm, is placed in front of Freia. Fafner and Fasolt examine the pile of gold and notice a small hole near Freia's eye. The Ring will fit the hole perfectly, but Wotan refuses to give it up. Erda, the Goddess of the Earth, rises from the ground and warns Wotan to give up the Ring and the curse that accompanies it. She tells Wotan that the world as he knows it will soon end. Wotan agrees to give up the Ring and completes the bargain. As Fasolt and Fafner gather their treasure, they begin to fight over the Ring. Fafner slays his brother and departs, taking the gold as he leaves. As the gods prepare to enter Valhalla, demigod Loge remains on earth in the form of fire. As he watches their entry into Valhalla, he states that he is ashamed to be involved with a group that deems itself so powerful it cannot fail, and wonders what the future will hold for the gods. In the distance, the Rhinedaughters lament the loss of their gold.